^^ Where the Frenchman 
Flows'''' 



A Four Act Comedy Drama by 
George Kearns 



Copyrighted 1921 hy George Kearns 



''Where the Frenchman 
Floivs^'' 

FOUR ACT COMEDY DRAMA 

BY 

GEORGE KEARNS. 



COPYRIGHTED 1921 BY GEORGE KEARNS. 



NOTICE— The acting rights of "Where the 
Frenchman Flows" are reserved by the Author and 
Publishers, and permission for any performance 
must be obtained from them. Any unauthorized 
production will be prosecuted to the fullest extent 
of the law. 

A royalty of $5.00 is charged for each per- 
formance, or, royalty and five extra copies of the 
play $8.00. Any extra performances, $3.00 royalty. 



KEARNS' PUBLISHING CO. 

McCOOK, NEBR. JACKSONVILLE, ILLS. 



^I'^v^' 



COSTUMES. ^A 

BOB: Act I and II, Khaki suit; leggins; gray flannel 
shirt; broad brimmed hat. Act III — Same and rain coat. Act 
IV — Neat business suit. 

STANTON: Act I and II— Stylish riding suit. Act Ill- 
Plain suit, rubber boots, rain coat. .A.ct IV — Plain business 
sir I Beard on wire for disguise. 

SKILLY — Act I — Old coat and pants, dark shirt, cap. Act 
II — Plain suit. Act III — Same and rain coat. Act IV — Neat 
suit, over jockey suit. Jockey suit on entrance after race. 

MOSE — Act I and II — Khaki pants, dark shirt, cap. Act III 
• — Same with rain coat. Act IV — (Overalls and jumper over- 
dress. For second entrance, "Loud", flashy suit. 

LUCY HOLDEN— Acts I and II— Stylish riding dress, 
whip. Act III — Plain dark dress and rain coat. Act IV — Sty- 
lish traveling dress. 

SUE — Acts I and II — Neat house dress; apron. Act IV — 
Stylish dress but in loud colors (not farcical) buttons, badges, 
etc., as are usually collected at a state fair pinned on dress. 



PROPERTIES. 

Act I — Large clothes basket; Clean clothes (ironed); 2 
large table cloths (white and colored); iron; table; 3 kitchen 
chairs; rocking chair; small stand table; work basket, with 
knitting; Bible, (old); sideboard (plain); dishes; rifle; live 
hen; several pieces of wood; bucket; pan; potatoes; knife; 
cup; piece of pie; lump of sugar; sandwich; lamp (practical); 
large blueprint; riding whip. 

Act II — Bench; old chair; field glasses; revolver; several 
lemons. 

Act III — Work bench; tools, long necked bottle of oil; 
large watch; engine, (see scene plot); 2 lanterns, (practical); 
revolver; Rain effect may be made with handful of shot on 
snare drum; bass drum for thunder and explosions; powder 
flashes (3); row boat, oar. 

Act IV — Bench; saddle; bridles; money (bills); camera; 
hyperdermic needle. 

Cocoanut shells for horse effect. 

NOTE: — At climax of Third Act, balance boat so it will 
rock, as on water. Mask fi'ont about half way up with blue 
cloth, splashed with white, and pull from side as boat is rocked 
to give water effect. ' 



") 59"87 






" Where the Frenchman Flows''* 



CAST OF CHARACTERS. 



BOB RANDALL: Lead, age about 25. 
MORRIS STANTON: Heavy; age about 30. 
SKILLY: Juvenile; age about 20. 
MOSE: Negro; age about 25. 
LUCY HOLDEN: Lead; age about 22. 
SUE: Juvenile; ag'e about 18. 



"WHERE THE FRENCHMAN FLOWS. 



Act I. Living Room at Bob Randalls. 

Scene — Interior. Kitchen set in 3. Box set. Door in 
flat, R. C. Large window in flat L. C, hung- with sash curtain. 
Door R, Table, R. C, Large clothes basket with white table- 
cloth in front of table. Chairs R. and L of table. Small table 
L with small work basket and Bible on it. Old fashioned rock- 
ing chair R of table. Chair up L. Plain sideboard wilh dishes 
between door and window in flat. Rifle in corner up L. Ex- 
terior backing in 4, wood set. Lights up for rise, but darken 
for close of act. 

Discovered — Sue at table R, ironing. Ironed clothes on 
end of table. Large table cloth in basket. 



SUE — There, that's the last piece, and I'm mighty glad 
of it. Gee, but I'm tired. I don't mind the ironing so much, 
but on a hot day like this it's no fun I can tell you. But then 
I oughtn't to kick for Bob's been awful good to me. If it 
hadn't been for him no telling where I'd be now. Chasing the 
street maybe, or hashing in a gTubbery. Gee, it's tough to be 
an orphan. Kids ought to be more careful in selecting' their 
parents and not pick out sickly ones like mine were. Well, I 
guess it couldn't be helped. I g'ot a bad start, but maybe I'll do 
better now on an easy track^ (Looks off R). Six o'clock, time 
to get Bob's supper, got done just in time. (Comes in front 
of table .discovers table cloth). Now what do you think of 
that? Here I've done gone and forgot that table cloth, and 
the irons are cold, and I've got to get supper — (sighs) It's our 
best company table cloth too. (Spreads table cloth over bas- 
ket). Don't believe there's any hurry, anyway, as we're not 
likely to have company very soon. I'll just leave it there and 



— 4— 

finish it after supper — maybe. Fires most out, too, and no 
wood in. Mose never does bring in enoug-h. Wonder, where 
he is. (At door flat, calls) Mose — Mose. 

MOSE — (In distance, L) Ise a coming. 

SUE— Well, hurry. 

MOSE — (Rapidly coming nearer) Ise a coming. 

SUE — Well, I should say you were. Wonder what's the 
matter? I never knew Mose to hurry so before. (Comes down 
L C). 

MOSE — (Crosses window, running, enter C. D. Has one 
shoe off, wears heavy colored socks, has string tied around 
sock as around big toe. String reaches out through door be- 
hind scene) Oh, Missie Sue, — Missie Sue — 

SUE— Well, what's the matter? 

MOSE — (Excited) Ise done been a fishing down there in 
the big ditch — yes'm — I done went down dare — and sot down 
under one of them trees, and put a big hunk of liber on my 
hook, and spit on it— den I tie it'rou nd my toe and frow it out 
in the water, and den I lay down under the trees, and first thing 
I knowed I done had a bite that most pulled me into the water 
and I grabbed the tree and hung on and something kept a pul- 
ling on dat line, and dis nigger thought he was a goner — and I 
pulled and pulled— 

^ Sue— Yes, yes, you pulled — 

MOSE— Yes'm I pulled— 

SUE— And the line broke? 

MOSE — No'm you done started to call me — an' I woke up. 

SUE — Oh, pshaw, then we won't have any fish for supper 
after all. 

' MOSE — No'm the kind I caught ain't very substantial. 

SUE — You're a great fisherman, I don't think. What did 
you do with your line when you woke up? 

MOSE — I done forgot all about that; spect it am still tied 
to my foot. (Discovers line. Unties it from toe and begins to 
wind it up.) Dat line pulls mighty hard, Missie Sue. You 
don't reckon dat fish am on the end do you ? 

SUE — No, of course not. 

MOSE — Dare am something on dis line, shore as you am 
boi'n. 

SUE— What is it, Mose? 

MOSE — Don't know — jes' keep quiet. (Both watch door; 
Mose winds up string, pulls live hen throug'h door. String fast- 



ened to chicken's leg'.) I done cotch something after all, Missie 
Sue. 

SUE— Yes, and you'll catch it from Bob if you don't let 
that hen g-o. 

MOSE — Ise done g-wine to let her go, but she wants to be 
more careful next time. (Exits D F with hen.) 

SUE — Mose, bring me in some wood. 

MOSE— (Outside) All right. 

SUE — (Carries ironed clothes off R then returns). 

MOSE — (Enters D F with several pieces of woods, exits 

R). 

SUE — Bob coming yet? 

MOSE— (Off R, he^rd at stove) No'm he's down at the 
ditch. 

SUE — Put in plenty of wood, Mose. 

MOSE— (Off R) Yes'm. (Enters R) Say, Missie Sue, hab 
you all got any pie ? 

SUE — Why, Mose, I'll have supper ready in a few minutes. 

MOSE — Yes'm, but I done got to feed the horses, and milk 
the cows, and it's gwine to be quite a spell before dis nigger 
gets his supper. 

SUE — Well, Mose, if you'll bring me in a bucket of water 
I'll give you a lunch before supper. 

MOSE — All rig-ht, Ise done gwine to get that water right 
away. (Exits' R, returns with bucket, and exits D F). 

SUE — (Exits R and returns with pan of potatoes and 
knife). 

MOSE — (Enters D F, with water) Here comes Miss Lucy 
and some fellow I neber seed before. 

SUE — Lucy Holden? What does she want here? (Pours 
water on potatoes, stands back of table, starts to peel them). 

MOSE — I don't know. 'Spect she come ober to see us. 

SUE — Well, she needn t come to see me. 

MOSE— Don't you like her, Missie Sue? 

SUE — No, I don't. She can always wear good clothes 
and don't have to dirty her hands with house work, and she's 
been to the city, and I'll bet Bob's getting stuck on her. 

LUCY — (Off L) I don't suppose Mr. Randall is at home 
but we can inquire. 

Enter Lucy Holden and Morris Stanton D F. Lucy 
comes down C, Stanton, L C and Mose L. 

LUCY— Hello, Susie, is Mr. Randall home? 

SUE— No, he ain't. 



— 6— 



LUCY— Will he be here soon? 

SUE— Guess so, he's down to the ditch. 

LUCY^ — -We'll wait for him then if you don't mind. Mr. 
Stanton wishes to see him. Mr. Stanton, this is Sue. 

STANTON — I'm charmed to meet you. Miss Susie. 

SUE- — Same to you. 

Sue shakes hand with Stanton, her hands wet, then 
returns to work. Stanton angry, dries hand on hanker- 
chief. Lucy sits R of table. Mose laughs until Stan- 
ton look at him angrily. 

LUCY — How homelike it is here, and how neat you keep 
things. Sue. Do you do all the work ? 

SUE — Yes'm. I've been keeping house for Bob nearly five 
years now. 

Stanton and Mose talk together, L. 

LUCY — It is very good of you to stay here and work for 
Bob — Mr. Randall as you do. 

SUE — 'Taint nothing. I don't never want to do anything 
else but keep house for Bob, and (directly to Lucy) he'd bet- 
ter not bring any other woman here to take my place. 

LUCY— Oh, Fm sure he's not thinking of doing that. I've 
heard it said he considers himself very fortunate in having you 
here. 

SUE — (Relenting a little) Bob's been awful good to me 
He gave me a home when I was a little street waif, and he 
says when I get older he's going to send me to one of them 
ladies' semitaries to learn to play the piano and be a lady. I'd 
rather not go, but I will if he says so. Bob's sure been good 
to me. 

LUCY — Mr. Randall is one of the best men I know. 
Lucy and Sue talk aside. 

STANTON — And you say the ditch is almost completed? 

MOSE — 'Spect dey am most through. Done heard Marse 
Bob say yesterday wouldn't take long to finish now. 

STANTON— And what is Mr. Randall's idea of this un- 
dertaking-? 

MOSE — Well, I don't jest understand the projectation my- 
self, but I done hears Marse Bob say as how if they built a 
dam across the Frenchman right here dey could store the wa- 
ter up, and when it got dry down the valley, they could let 
it out, as they wanted it. 

STANTON — I see; a very practical idea. And what part 
do you take in these modern improvements? 



-7— 



MOSE — Me? Why I done care for Marse Bob's live stock. 

STANTON— Live stock? 

MOSE — Yes, sah. Marse Bob done raise some fine horses. 
Aint you neber heard of Claude S? 

STANTON— Claude S? Yes, I have. The sire of some of 
the finest and fastest horses in the West. 

MOSE — Dat's dem. Marse Bob's done got some of dem 
horses and they's dandies. 

STANTON — You interest me. I'd like to have a look at 
them if you don't mind. 

MOSE — Don't mind at tall, sah. Come right along, I'll 
show you. 

STANTON— (To Lucy) Will you excuse me? Mose is 
going" to showr me some of the live stock. 

MOSE — Dey's down in the barn, rig'ht this way. 
Stanton and Mose exit D F. 

LUCY — Don't let me hinder you in your work, Sue. I'd 
like to watch you get supper, if it wont bother you. 

SUE — It wont bother me. Miss Lucy. I'm going to put the 
potatoes on. 

LUCY— I'll go with you. I've never done any cooking, but 
I think it would be interesting. (Exits R.) 

SUE — Well, maybe she isn't so bad after all, but I'm sus- 
picious of her wanting to watch me cook. I'll just keep an eye 
on her and Bob. (Exits R.) 

Skilly looks in at window cautiously, then enters i-oom. 
Is alert and watchful. 

MOSE— (Off L) Missie Sue— Missie Sue. 

SUE— (Off R) What is it, Mose? 

Skilly alarmed, looks around for place to hide; discov- 
ers clothes basket, crawls in it, pulls table cloth over him. 

MOSE— (Entering-) Missie Sue— 

SUE — (Entering R) What do you want, Mose? 

MOSE — I done forgot to shet the barn door and dat Cat- 
aract horse got out and won't let me cotch him, and I got to 
hab a lump of sugar to entice him with. 

SUE— All right. 

MOSE— And, Missie Sue, you all aint done forg'ot about 
dat little lunch hab you? 

SUE— No, I'll bring that, too. (Exits R.) 

MOSE — (Sits at table.) Yes, dat am the smartest horse — 
he done knows Marse Bob gwine to be mad cause I didn't shut 
dat door, and he's gwine to stay out 'till he gets his sugar. 



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— 8— 



SUE — (Enters R with sandwich, piece of pie and lump of 
sugar.) Here you are, Mose. 

MOSE — Thankee, Missie Sue, thankee. 

Sue exits R. 
MOSE — Now Ise gwine to sit right here and eat dis here 
sandwich first — den I can eat my pie when I go back. (Eats.) 
Yes, sir, dat horse am smart; he lets me get so close to him, and 
when he sees I aint got no sugar he runs away, but when he sees 
the sugar he comes right up and takes it out of my hand — 

As he talks he lets his hand hang over edge of table, 
and on "my hand," Skilly, who has been cautiously watch- 
ing Mose, takes sandwich and again hides under table 
cloth. 
— and lets me lead him right back to the barn. (Starts to eat, 
puzzled over loss of sandwich.) I dont jest remember eatin' 
dat sandwich. (Takes a bite of pie, hand then as before.) Dat sure 
am good pie. Ise gwine to eat it slower, then I'll know Ise got 
it. Den Ise goin' down and show Marse Stanton how dat horse 
done eat sugar right out of my hand — 

Skilly (Takes pie, hides as before.) 
— because he laughed because I couldn't cotch dat horse. (Dis- 
covers loss of pie. Backs away from table.) I don't remember 
eating dat pie, but it sure am gone. I had a sandwich and dat 
am gone — and I had a pie and dat am gone — but dere am the 
sugar — (Captures sugar by suddenly jumping for it and putting* 
his cap over it). Ise got you, and I'll just take you along be- 
fore you am gone. (Exits C D, running.) 

SKILLY — (Leaving basket). Gee, that tasted good — ^I was 
starving. Glad the nigger didn't catch on. Must get out of 
here. I'll take a look around and see what kind of people they 
are, and if they look all right, I'll strike them for something 
more to eat. 

SUE — (Off R.) I'll see if they are coming. Miss Lucy. 

Skilly hides in basket. Sue enters R, crosses to win- 
dow, looks out and in turning sees Skilly's arm as he ar- 
ranges tablecloth. Sue is alarmed, gets rifle, covers bas- 
ket. 
SUE — Now, Mr. Burglar in that basket, just stick your 
head out and give an account of yourself before I spoil our best 
tablecloth. 

Skilly uncovers; both look at each other in surprise^ 
SKILLY— Sue! 



SUE— Skilly! 

LUCY— (Off R.) Are they coming, Sue? 

Skilly hides in basket. 
LUCY — (Enters R.) Why, Sue, what are you doing with 
that rifle? 

SUE — Just — just— sweeping the floor. Miss Lucy. 
LUCY — Sweeping the floor? 

SUE — Oh, no, I mean I — I — just thought I saw something 
alive and I wanted to see what it was. 
LUCY— Did you find out? 
SUE — Yes'm, no'm. I mean it's gone now. 
LUCY — Well, I wish you'd put that gun away, you might 
hurt someone. 

Lucy crosses L, Sue puts rifle in corner, returns to 
table. Stanton and Mose enter D F. 
STANTON— (Entering D F) A mighty fine horse, Mose, 
do you think Mr. Randall would sell him? 

MOSE — No, indeed, Marse Bob never sell dat horse. 

Stanton crosses L to Lucy. Sue nervous and worried. 
Mose comes down to table then remembers experience 
and "shies" away, goes back to door. 
STANTON— I've been having a look at Mr. Randall's hors- 
es. He has one unusually fine one. I wonder if he would sell 
him ? 

Sue goes to door, talks aside with Mose. 
LUCY — I doubt it. I know the horse you mean. Bob — Mr. 
Randall takes particular pride in him, allows no one to ride him 
but himself, and I don't think he could be persuaded to sell. 
Skilly cautiously looks out. 
STANTON — But it's a shame to allow the horse to remain 
here doing nothing. I'd put him on the track — he'd beat any- 
thing on the circuit. 

Sue gets colored tablecloth from sideboard, prepares 
to set table. 
LUCY — Oh, Morris, thinking of horse racing again! I 
thought you had given it up? 

STANTON — I thought so too, but the chance with a horse 
like that would be too good to lose. 

SKILLY— (Aside.) Morse Stanton! 

He is discovered by Sue who thrown the second table 
cloth over him. 
LUCY— Why, what's the matter. Sue? 
SUE — Nothing — I was just shooing a fly. 



—10- 



MOSE — Here comes Marse Bob now. (Exits to L). 

BOB — (Outside.) Hello, Mose, got the stock all fed? How's 
Cataract? Give him a good feed, Mose. (Enters D F.) Hello, 
Sue, how's supper? (Discovers others.) Why, Lucy, this is a 
surprise, I didn t know you were here. (Shakes Tiands.) 

LUCY— I just arrived this morning and thought I would 
ride over and see all of you. Allow me to present Mr. Stanton, 
Mr. Randall. 

BOB — Glad to meet you, Mr. Stanton. You must excuse 
my seeming inhospitality, but I was down on the ditch. Sue, 
why didn't you send Mose down — 

STANTON— Don't apologize, Mr. Randall, and don't blame 
Sue. We didn't wish to disturb you in your worK. 

BOB — Well, I'm through now, got everything finished and 
the ditch is complete. But sit down — 

Stanton turns to rocking chair L. 

BOB — Not there, Mr. Stanton, let me give you a chair over 
here. Susie, let's move this basket. (Starts R). 

SUE — (Stopping him). Oh, no, no — I mean, let me move it. 
I've g-ot that tablecloth spread out to dry. I'll move it. (Tries 
to shove basket.) 

BOB— What's the matter? 

SUE — Nothing — nothing at 'tall. (Aside) Oh, gee, what'll 
I do? 

BOB — I'm afraid it's too heavy for you — let me — 

SUE — Oh, no — no — (She lifts cloth by corners, holding her 
arms apart forming a screen for Skilly who leaves basket. She 
covers Skilly's exit R, talking as she does so and pushing bas- 
ket with knees.) You see, this is our best table cloth, and I 
just laid it out there to dry, and I didn't want to wrinkle it. 
(Aside) My arms are broken. Skilly, if you aint gone I can't 
help you any more. (She lets her arms fall and drops table 
cloth into basket.) 

Lucy sits R of table, Stanton L. Bob C. Sue lights 

lamp, sets it on table. Darker outside. Sue sets table. 

STANTON — I have heard something of your irrigation 

project, and as I have interests here, would like to know just 

what your plan is. 

BOB — You have property here? 

STANTON — Yes, I own the quarter-section southwest of 
here. It belonged to an uncle of mine, but on his recent death 
came to me. 



-11- 



BOB — My plan will not affect you any as your place is al- 
ready irrigated. It is for the people further down the valley. 
While the Frenchman carries a great deal of water in the spring 
season, the fall is so great, that it is soon gone or else sweeps 
everything before it. I have studied the stream carefully and 
have found that here was the best place to build a dam and put 
in a gate. Here the valley is wider, giving a larger storage ca- 
pacity. In a short time I can supply the valley with all the 
water needed for irrigation. 

STANTON — You are sole owner of this project? 

BOB — Yes, by means of a mortgage I have been able to 
handle it. 

STANTON— You say the work is finished? 

BOB — Yes, they close the gates tonight. 

STANTON — And will all this water lie on your own land? 

BOB — Yes. I have a plan here that will explain things bet- 
ter. (Gets blue print from sideboard and spreads it on table.) 
Here you see is the course of the Frenchman, entering my land 
here. Here is the dam, giving me all this enclosed part of the 
valley for the lake. 

STANTON— This must be my land lying here. 

BOB— Yes. 

STANTON — And my ditches are filled from this stream? 

BOB — Yes. You see your ditches are supplied from above 
the lake so your supply will be in no way diminished. 

STANTON— No, rather the other, I think. 

BOB — What do you mean? 

STANTON— That when your lake begins to fill my land will 
be flooded. 

BOB — No; except in the case of a freshet the water in 
your main ditch will only be raised a few inches. 

STANTON— But in case of a flood? 

BOB — If you anticipate a flood it would be advisable to 
raise the banks a foot or so. 

STANTON— I'll have to look over the land first. 

MOSE — (Enters D F.) Marse Bob, the men say to tell you 
they's gwine to close the gate. 

BOB — All right, Mose. Shall we go down and watch the 
operation? 

LUCY — Yes, indeed. Then we must be going back, as it 
is getting late. My riding whip — 

SUE— I'll get it. (Exits R.) 



-12- 



iSTANTON— If you don't mind, I'll walk ahead. I'd like 
another look at that horse of yours, Mr. Randall. 

BOB— All right, Mose will go with you. 

MOSE — I'll done have to light a lantern. 

Stanton and Mose exit D F. Lucy and Bob C. 

BOB — It's good to see you back again. 

LUCY — And I enjoy being back. 

BOB — Going to stay long? 

LUCY — I don't know. I had to come on business and will 
probably be here several weeks. 

BOB— Who is this Mr. Stanton? 

LUCY — He's from Denver, too. I have known him for sev- 
eral years; when he learned I was coming down here he came 
with me as he wished to see the land his uncle left him. 

BOB — Well, I hope you decide to stay. We'll take a ride 
up the ditch some time — 

LUCY — It's been quite a while since we rode the ditch. 

BOB — -Yes; I guess the last time was just before you went 
away to school. I remember now — you had on a pink dress, and 
a sunbonnet, and your hair was in two pigtails. We didn't have 
any saddles, and you rode — 

LUCY— Oh, Bob! 

BOB — dad's little gray pony. 

LUCY — I remember, and we had a race. 

BOB — And your sunbonnet didn't have any strings on it, so 
you tied it on with your pigtails. 

LUCY — I'm afraid we didn t watch the ditch very close 
that day. 

BOB — No, we left that to Dad. Poor old dad, what has 
been finished today was his dream. 

LUCY — And you have realized it. You deserve to be con- 
gTatulated. Let me be the first. (Offers her hand.) 

BOB — (Taking her hand.) Thank you. When will we take 
that ridfe? 

LUCY — Oh, almost any day. 

BOB— I'll let you ride Cataract. 

LUCY— That will be fine. 

BOB — Havn't got a pink dress you could wear have you? 

LUCY— I'm afraid not, why? 

BOB — Thought maybe we could make ourselves like we 
were that day, everything else has changed so. 

LUCY — But we must change too, you know. 
Enter Sue R, with whip. 



-13- 



BOB — Yes, I suppose so, but you will always be the same to 
me. 

SUE — (Putting' whip between them.) Here's your whip. 

LUCY— Oh, thank you, Susie. (To Bob) Hadn't we better 
go, they will be waiting for us. (Lucy and Bob exit D F.) 

SUE — I'm suspicious of her. Come in. Skilly. 

SKILLY— (At D R.) Is he gone? 

SUE— Who? Bob? 

SKILLY— Bob? No, that other fellow, Morse Stanton. 

SUE— Mr. Stanton? Do you know him? 

SKILLY— (Entering.) Do I know that guy? Say, if it 
wasn't for him — aw, well, never mind. 

SUE— Tell me, Skilly. 

SKILLY^ — I will, sometime. Is he living around here ? 

SUE — I don't know. I never saw him before. 

SKILLY — I don't want him to see me. And don't you have 
anything to do with him. Sue. 

SUE — Oh, dear no, we aint in the same set. (Affected 
walk R.) 

SKILLY — Gee, what a long tail our cat's got. Say, Sue, 
you're looking swell since the last time I saw you. 

SUE — Things have been going great with me. Skilly, since 
those days we used to sell papers and stand over the gratings 
at the restaurants to get warm and smell the cooking and im- 
agine we had a meal. Bob's given me a dandy home. He's the 
best fellow there is. But what have you been doing since I left? 

SKILLY — I got tired of selling papers, and went ovit to the 
track and finally g-ot a chance to ride. I always wanted to you 
know. I was on the circuit for two years and hobnobbed with 
the high-tones, I tell you. Then I got in bad — 

SUE— Tell me about it. 

SKILLY — Aw, it wouldn't do any good, you couldn't help 
me. 

SUE — No, but maybe Bob could. 

SKILLY— Bob? Do you think he would? 

SUE — Sure, if I told him you were a friend of mine. 

STANTON— (Off L). I'll bring up the horses and we can 
start back at once. 

LUCY— (Off L.) All right, I'll wait in the house for you. 

Skilly and Sue exit R, hurriedly. Lucy enters D F. 

Comes down to the table, lays whip on table, crosses L 

and sits in rocking chair. Pause Bob enters D F comes 



-14- 



down C. Lucy looks up at Bob and smiles as thoug'h ex- 
pecting him to speak. 

BOB — That's mother's chair you're sitting in — don't get up. 
You see, mother don't need it now. She used to always sit 
there, ever since I can remember. She wasn t strong ind 
couldn't get around much. I used to help her do the work around 
the house Avhen I was a little chap, but after father died, I had 
to do his work and that made it harder for mother, so we took 
Susie in to help. She was a waif, I got her in Omaha, and the 
Judge gave me the right to be a big brother or a father to her. 
Mother kept getting weaker and weaker and finally I had to 
carry her out here in the mornings and back to her room at 
night. She'd sit there all day looking out across the valley, or 
else reading- in the Bible, and in the evening after my work was 
done, we'd sit here in the twilight and talk of things that were 
only for us. Then one day I couldn't carry her out any more — 
the last time she left her room they took her through the door 
— she's sleeping out there beside father. After she was gone I 
never moved her chair, or the little table, and her Bible always 
laid there, just as she left it, only in the evening I open it, and 
read a chapter, and then it almost seems that she was here 
again. All the folks ai'ound here know about Mother's cha'r — 
and you're the only one to sit there since she died. 

LUCY — (Rising.) Oh, I'm so sorry — I didn't know — I didn't 
mean — 

BOB — I don't mean it that way, Lucy. I mean you are the 
only one I'd rather see sit there than Mother. 
LUCY — Don't — don't say any more — 

BOB- — I must tell you, Lucy — tell you what has been in my 
heart for years — tell you that I love you, and — 

LUCY — No — no — don't say any more — I should have told 
you — I — I am engaged to Mr. Morris Stanton. 

A pause. Bob, surprised and stunned at news, bows 
his head. Lucy crosses to table, gets whip, up to D F, 
slowly as though expecting Bob to speak to her but as he 
does not notice her she exits D F. Pause. Sue enters R, 
and in dumb show persuades Skilly to enter. 
SUE — Say, Bob, your supper's getting cold. 
BOB — I don't believe I want any supper tonight. Sue. 
(Crosses to table and picks up Bible.) Have you had supper. 
Sue? 



-IS- 



SUE — Yes, me and Skilly had a lunch. 
BOB— Skilly? 

SUE— Yes, this is Skilly. I used to know him when I was 
only a kid on the street; he's me old pal, and I want to know 
can he stay here? 

BOB — Any friend of yours it always welcome, Sue. 
SUE — Thank you, Bob, you're awful good. Going to read 
now? 

Bob sits R of table; Sue puts lamp on table then sits R 
of Bob, and Skilly R of Sue. Bob opens Bible, turns the 
leaves. Horses heard outside, close, leaving and dying 
away in distance. Bob listens. Skilly listens apprehen- 
sively. Sue defiant and proud. 
CURTAIN. 



ACT II— DOORYARD OF RANDALL'S HOUSE. 



Exterior. Wood wings R, and back drop either wood or river 
scene. Set house L, one story, with porch. Door in house and 
window to correspond with Act 1. Bench R C. Old chair near 
porch. Flowers and vines on and over porch. 

Discovered. Skilly seated on bench R, looking off R through 
pair of field glasses. 



SKILLY — Yep, that's him all right — Morse Stanton — one 
of the biggest gamblers and race track crooks in the country. 
Mixing in with the. swell people here, and me, that knows enough 
to send him to the pen got to hide like a rat. Wonder if he's 
trying to marry that girl ? Gee, she's in for a tough time of it 
if she does. I think Bob's kinder stuck on her. I don't see why 
she don't fall in love with him. He's a swell chap all right. 
Told me to make myself at home here and never wanted to 
know my pedigree at all. I'll tell him some day though, maybe 
he can help me. I'd like to get a chance to bawl that crooked 
guy, but it wouldn't do any good, only get me in bad again. 
(Looks.) You did me dirt, Morse Stanton, but some day I'll 
give you cause to remember Skilly. 
Enter Sue from house. 

SUE— Hello, Skilly, what you looking at? 

SKILLY— Nothing. 



-16- 



SUE— Do you see it? 

SKILLY— Yes, I see him. 

SUE— Who ? 

SKILLY— Morse Stanton — want to look? 

SUE — Naw, I don't want to see him. He aint in our class. 

SKILLY — That's right. He aint to be compared with Bob, 

SUE— Well I should say not. 

SKILLY — Aint Bob the swell chap? Do you know, Sue, if 
I had the running of things I'd make Bob rich and have him 
marry Miss Lucy 

SUE — Well, I wouldn't, she's not good enough for him. 

SKILLY — I don't see why. Maybe you want him yourself. 

SUE — I guess I'd make him a good wife. 

SKILLY — Say, you have got a swell opinion of yourself. 
See here, Sue, you get that idea out of your head. I'm going 
to get cleared up some day, then I can get back to riding, and 
after I make a stake you and me's going to get married. 

SUE — Say, you have got a swell opinion of yourself. I'm 
never going to marry. Bob is going to send me to school and 
after I learn a lot I'm going to a foreign country and help edu- 
cate the heathen. 

SKILLY — You can get one to educate here without going to 
any foreign country. 

SUE — I'll have to see what Bob says about it. 

SKILLY — I've been thinking it over since I've been here, 
and maybe it would be a good idea to tell Bob about my trouble. 
Do you think he'd help me? 

SUE — If anybody could help you, Skilly, it would be Bob. 

SKILLY — It ain't that I'm afraid to tell, only no one will 
believe me. 

SUE — You tell him. He'll know whether you're lying or not. 

SKILLY — (Looking L.) Here he comes now. 
Bob enters from house. 

BOB— Hello, Sue; Hello, Skilly. 

SKILLY— Howdy, Mr. Bob. 

BOB — Well, Skilly, how do you like the country by this 
time? 

SKILLY— Fine, sir. I'd like to stay if— if— 

BOB— Well ? 

SKILLY — (Looking R) If it wasn't for some things. I'd 
like to tell you if you don't mind. 

BOB— (Sitting). All right, Skilly; Sue— 



-17— 



SKILLY — I'd like to have her hear too, we're old pals you 
know. 

Sue sits on bench R of Skilly. 

SKILLY — I used to be a jockey. You may have heard of 
me? I'm Skilly Kelley — 

BOB— (In amazement.) Not THE Skilly Kelley? 

SKILLY— Yes, Sir. 

BOB- — The best jockey on the Western circuit. 

SKILLY — Yes, sir. I rode only the best — always winners. 
Last season I went out with a new one — he had a good string 
and we took everything. Then we went down to enter the Derby. 
I knew what my horse could do, and felt sure we could take 
that. The night before the race he come to me and says, 'My 
horse will be the favorite in the betting tomorrow, but he's not 
to win, do you understand?' I didn't say anything; I'd never 
been up against a thing like that before and I didn't know just 
what ,1 oug'ht to do. I didn't see him again until just before 
the race, then he boosted me into the saddle and whispered, 
'Remember what I told you — don't run first.' We got away fine 
— my horse took the lead but when we reached the quarter I 
pulled him down to third and we kept that to the half, then the 
pace grew faster, I let him out a bit,at the three-quarter he was 
running second, we turned into the home stretch — three of us 
were neck and neck — I heard the shouts of the crowd — the pound 
of the hoofs — the movement of the horse under me that should 
be a winner — I gave him his head and we raced home a winner 
by two lengths. 

SUE — Hurrah for you. 

BOB— That's the right stuff in you, Skilly. 

SKILLY — He didn't say anything, but his face was black 
with rage. Well, that night the secretary's safe was robbed, 
some of the rnoney was found in my room, and — well, I got a 
chance to skip and took it. 

BOB — You should have stayed "and faced it. 

SKILLY- — What chance would I have with them? 

BOB— That's right. Well, what do you think? 

SKILLY— That the safe was robbed by Morse Stanton — 

BOB — (Jumping up.) Hold on. (Crosses to Skilly and 
lays hand on his shoulder.) Say that again, will you? 

SKILLY — That Morse Stanton robbed the safe and put the 
blame on me. 

BOB — That's a serious acquisition, my boy, and unless you 
have g"ood reasons — 



-18— 



SKILLY — I know he lost heavily on the race. 

BOB — But that don't prove anything. 

SKILLY— I know it. 

BOB — You are accusing another man of a serious offense, 
and without proof, I can't see how you hope to have your story 
believed. 

SUE — Aw, Mr. Bob, Skilly didn't do nothing crooked. Why 
I've known him ever since we were kids, and he never stole any- 
thing". Can't you do something to help him ? 

BOB — I can't see now how anything can be done. I'll think 
it over. You are welcome to stay here, Skilly; keep out of 
Stanton's sight, he will be gone in a few days, then perhaps I 
can help you. 

SKILLY— Thank you, Mr. Bob. The Lord knows and Sue 
does too, that I wouldn't do no crooked work. 

BOB — No, I don't believe you would Skilly, and to show 
that I trust you, and as you seem to understand horses, I'm 
going to put Cataract under your care. 

SKILLY — Thank you, Mr. Bob; 111 take care of him and 
make him a winner. 

BOB — None of that. I don't want to make him a race horse. 

SKILLY — Aw, that's too bad. Not even one little race ? 

BOB — No, not even one, Skilly. 

SKILL Y^All right, but it aint treating him right. But I'll 
take care of him, you'll find I'm straight. I'll start to work 
right now. Come on. Sue, let's go down to the barn. (Goes L.) 

Sue— All right. 

Skilly exits L U E. 
SUE — (Putting her arms around Bob's heck.) You're awful 
good, Bob. (Kisses him.) (As she exits, running,) Wait for 
me. Skilly. 

BOB — Stanton a race track crook. And she's- going- to mar- 
ry him. I can't tell her on the strength of Skilly's story. Not 
now. (Goes L.) But if Skilly's telling the truth she ought to 
know it. 

Horses heard R in distance. 
BOB — (Looking R.) They're coming. Lucy would want to 
know it if Stanton's the kind of man Skilly says he is. She must 
know it before it is too late. I must think what to do. 

Bob exits into house. Horses heard nearer off R, stop. 
Mose enters L U E. Lucy and Stanton enter RUE. 
STANTON — Just look after our horses, will you, Mose? 



-19- 



MOSE— Yes, sah. (Exits R U E.) 

STANTON — It's good to get in the shade here, I had no 
idea the sun was so warm. 

LUCY — Yes, it is warm, and the signs are we will have 
rain soon. 

STANTON — I can't see any signs of it. 

LUCY — No, you haven't lived here long enough, but an old 
resident like I am can tell. 

STANTON — I had forgotten, this is your old home. 

LUCY — I lived here until I was twelve, but since I have 
been at school, I have been able to visit here only every year 
or so. 

STANTON— Have you known this Mr. Randall long? 

LUCY — Oh, yes, all my life. His father settled here at the 
same time as mine. He died while Bob was only a boy, and Bob 
has managed the place ever since. This irrigation project was 
a plan of his father's and Bob has worked hard to carry it out. 

STANTON — It is a wonderful project but rather expensive 
for one man to handle unless he is wealthy. 

LUCY — Yes, he told me it took all he had, besides what 
money he could raise on the place. 

STANTON — But he has another source of income if he 
would only use it. 

LUCY— What do you mean ? 

STANTON — His horses. One in particular that he calls 
Cataract I believe would make a fortune on the track. 

LUCY — Perhaps. But Bob would never consent to it. I 
know others have spoken to him of it, but he does not believe 
in gambling. 

STANTON— With a horse like that it wouldn't be gambling 
— it would be a sure thing. I could take him — 

LUCY — And you told me you had given up all that. 

STANTON — So I have, but if I owned him, I know where 
he could be sold at a good price. 

LUCY — Well, you'll never own him, for Bob won't sell. 

STANTON^He might be persuaded to if he is short of 
money. The horse is doing him no good here and it is a shame 
to let such an animal go to waste. 

LUCY— You couldn't persuade him of anything like that, 

STANTON— No, perhaps not, but couldn't you? Tell him 
you have taken a fancy to the horse, want him for yourself, and 
as an old friend I am sure you could persuade him to sell. 



-20- 



LUCY — And I absolutely refuse to take advantage of such 
friendship and be a partner to such a scheme, 

STANTON— What is there wrong with it ? I will pay what 
the horse is worth to him — what I do with it afterwards is no 
concern of his. 

LUCY— Still I will not do it. 

STANTON— Why not? 

LUCY — I will not take advantag-e of him. 

STANTON — Take advantage of him? Don't you suppose 
he knows the horse has a racing value? And because he does 
not care to take advantage of it, is that any reason I should not? 

LUCY — There is no need to say more on the subject, I will 
not do it. 

STANTON — It seems to me that it is about time you were 
taking an interest in my affairs. 

LUCY — I do, when they are honorable. 

STANTON — My affairs are honorable. Because I am 
shrewd enough to see an opportunity where your thick headed 
country friend — 

LUCY — Stop — I will not hear a word against Bob. 

STANTON— (Angry, but controlling himself.) I don't 
mean to say anything against him, but 1 am very much disap- 
pointed that you do not take the same view of this that I do. 

LUCY — No, I do not look at it that way. Let us say no 
more of it; you do not need the small amount you could make 
off the sale of the horse, and since you have quit the track you 
do not need him. 

STANTON — Very well, I'll give up the horse, since you 
wish me to. 

LUCY— Thank you, I do wish it. 

STANTON— But I still have a favor to ask of you. 

LUCY— Well? 

STANTON — To set an early date for our wedding. 

LUCY — I thought we had decided to wait until fall ? 

STANTON— I know, but I don't wish to wait that long. 
Why not say next month ? 

LUCY— Next month? 

STANTON— Yes. Don't you care for me that much? (Sits 
beside her, starts to put his arm around her.) 

LUCY — (Rises, crosses L.) Yes. (Looks into house from 
where she stands.) I don't know whether I can get ready or 
not; I'll let you know. 



-21- 



STANTON — You don't know how happy you have made 
me — to think that in a month I can call you my wife. 
Bob enters from house. 

BOB — Why, hello, Lucy. Howdy, Mr. Stanton, I ve got to 
go down to the dam, want to walk down? 

STANTON— It's so infernally hot, I'll stay here if you'll 
excuse me. 

LUCY— I'll go, the place interests me greatly. 

BOB — I want to see that everything's all right. They've 
been having heavy rains west of us and the rise may strike us 
at any time. 

STANTON— Anything serious ? 

BOB — Oh, no. Probably a rise of a few feet in the lake, 
but then it is best to be prepared. 

STANTON — I have been over my place and I find it will 
not be possible to build my banks any higher at present. The 
cost would be too high. 

BOB — I don't think you need to worry, nothing short of a 
cloudburst would overflow us. 

STANTON— My prospect for a crop this year is fine. 

BOB — I am glad to hear it. I haven't much in; this ditch 
has taken so much of my time, but next year I will make it. 
Come Lucy. Don't go away, Mr. Stanton, we'll have lunch 
when we come back. 

Bob and Lucy exit L U E. 

STANTON — Yes, I must get a crop, every penny I can 
raise, or I'll be ruined. That last season of racing put me to the 
bad, but if Lucy marries me next irionth her money will help 
out some. If I could only get that horse. Lucy won't help; I 
must think of some other plan. 

Horse heard in distance R, easy start, rapidly increas- 
ing, dies away in distance. 

STANTON — (Looking off R with glasses) There he goes 
now — what a beauty — what action — I could clean up on him. 
There must be some way to get him, but how; how? 

Stanton exits R I E. Sue and Mose enter RUE. 

MOSE — Ise not sorry Marse Bob done goin' to let dat boy 
take care of that horse, cause I got so much to do I jest can't 
look after him. 

SUE — (Laughing.) Why Mose, what have you got to do 
that keeps you so busy ? 



—22- 



MOSE — Why, I done got to do the chores around the house, 
and carry in wood, and say, Missie Sue, you all aint got any pie 
in there hab you? 

SUE— No pie, Mose. 

MOSE — Dat's too bad, cause Ise awful hungTy, and Marse 
Bob done say he's gwine to hab me work down at the dam on the 
engine to open the gate. 

SUE — That will just suit you. Something else will do the 
work while you look on. 

MOSE — Yessum, but it done takes brains to run dat engine 
and dis nigger's brains aint gwine to be in any good condition 
unless he has plenty to eat. 

SUE — Well, Mose, I haven't any pie but there's some cake 
if that will do. 

MOSE — That'll do, Missie Sue, I done think next to pie I 
likes cake the best anyhow, except watermillion, or chicken, 
or possum — 

Sue exits into house, Mose follows. Lucy and Bob 
enter L U E. 

LUCY — It is indeed wonderful, what you have succeeded in 
making of the Frenchman. To think that that broad lake was 
once only a little stream — 

BOB — A stream that was always dry when the water was 
needed, but in the rainy season assumed the proportions of a 
river that ran riot, doing more harm than good. It is the same 
stream, Lucy, only I have acted on the principle that should 
govern all such streams, conceived a plan to store the water 
until needed. • 

LUCY — It is an excellent idea, and the amount of water 
you have there now will do much toward irrig-ating the valley. 
(Smiles.) I don't think we'd have any trouble now. Bob, in 
sailing our boats. 

BOB — Do you remember those boats? (They sit R.) I 
whittled them out of a pine board with my jack knife, and you 
hunted out some pieces from the rag bags for the sails. 

LUCY — And once when I couldn't find any pieces I used my 
handkerchief for a sail and lost it — and got scolded. 

BOB — And I remember once when you started your boat it 
wouldn't go, and you gave it a push — and fell in. (They both 
laugh.) 

LUCY — What times we used to have — it was a glorious 



—23— 



child's stream, fulfilling childhood's dreams — now it has grown 
even as we have — and the dream of youth is becoming the real- 
ity of age. 

BOB — Yes, a reality — and yet, sometimes, I wish we could 
go back. 

LUCY — We can't go back — ^there are no bridges to the past. 
(Pause.) You must let me hear how you are g-etting along with 
your project; I shall always feel an interest in it. 

BOB — Of course. But as you are to be here for the next 
few months you'll have an opportunity to see what it will do. 

LUCY — I won't be here that long. I — I expect to leave the 
last of this week. 

BOB — Why, I had no idea you were going away so soon. I 
thought you intended staying all summer. 

LUCY — I did, at first, but I find it will be necessary for me 
to leave at once. 

BOB — That's too bad. I intended having you over to din- 
ner — ^Sue's gotten to be a splendid cook, and we haven't had 
that ride yet. 

LUCY — No, we haven't. I'm afraid we'll never have that 
ride. Bob. 

Bob looks at her questioningly. 

LUCY — Mr. Sanders and I will probably be married next 
month. 

Bob rises, crosses L. Lucy looks after Bob, rather 
anxiously. 

BOB — Lucy, I wish you all the happiness in the world. 

LUCY— Thank you Bob. 

An awkward pause. Both are nervous and ill at ease 

BOB — Looks like we were going to have rain. 

LUCY — Do you think so ? We had better be starting back. 

BOB — Oh, you have plenty of time, it wont come for hours 
yet. Come in the house, it's cooler there, and I'll have Sue 
make some lemonade. 

Lucy crosses L to porch. 

BOB — Lucy — I'm, I'm sorry you're going away so soon, but 
I guess you know best. I had hoped things might have been 
different, but since they can't, you must always look on me as 
a brother, Lucy — 

LUCY— I will. Bob. 

BOB — And I want you to be happy — you're going to be 
happy ? 



-24— 



LUCY — (Not looking- at Bob.) Yes, I hope to be very 
happy. 

BOB — It is your own choice ? 

LUCY — Of course, Bob, it is my own choice. 
Lucy exits into house. 

BOB — Her own choice — then I can never tell her. 

Bob exits into house. Stanton enters RUE, hurried 
ly, excited. 

STANTON — What a horse. I never saw such speed in an 
untrained runner. What would he do after a season on the 
track? I must have him. That boy can ride, too. I wonder 
who he is. Here he comes now — there's something strangely 
familiar about him. I wonder, could it be — I'll watch him. 

Stanton exits R I E. Enter Skilly hurriedly, RUE, 
crosses to house. 

SKILLY— (Cautiously.) Sue— Sue. 
Sue enters from house. 

SKILLY — I rode him Sue, I rode him. 

SUE— Rode him— who? 

SKILLY — Cataract. And say, he can go— 

SUE— (Stopping him.) Sh! Skilly Kelley, if you don't 
want to lose your happy home, don't ever let Bob know you 
raced Cataract. 

SKILLY — Aw, pshaw, he was just exercising a little. Why 
Sue, it's a sin not to let that horse run. 

SUE — Sin or no sin, if Bob catches you, you'll run faster 
than that horse ever did. 

SKILLY^ — Well, I can't help it — the horse can run and when 
I get on him and he starts what can I do ? 

SUE — Stay off him. Skilly, or you'll hit the road again. 

BOB — (Inside.) Are you bringing- the lemons. Sue? 

SUE — I'm bringing them, Mr. Bob. (To Skilly) I've got 
to go down to the ice house for some lemons — and remember 
what I told you. 

Sue exits L U E. 

SKILLY— Damn. What're they all so fraid to let the 
horse run, for? 

Stanton enters RUE, quietly. 

SKILLY— Why he just runs for the love of it. He can beat 
anything- that ever hit the track. I wish I owned him. 

STANTON— Suppose I owned him? 

SKILLY— (Caught.) Morse Stanton. 



-25- 



STANTON— Yes. Surprised to see me? 

SKILLY — No. I knew you were her»3. 

STANTON — I just recognized you. Probably wouldn't, 
only I saw you riding Cataract, and I knew there was only one 
jockey in the world could handle a g'reen horse like that. Pretty 
fast, isn't he? 

SKILLY— Oh, he can run a little. 

STANTON — Yes he can. I held the watch on him coming 
back. I'm thinking of buying him. 

SKLLY— 'Thinking' is right. 

STANTON — Perhaps not so remote as you may think. You 
can help me in this little deal. 

SKILLY — Huh, I don't help you on nothing. 

STANTON— And I ought not to help you after what you 
did. 

SKILLY— I didn't crack the safe. 

STANTON — Well, you were blamed for it, and you're for- 
ever barred from riding unless I help you. 

SKILLY — Well, there's other things I can do. 

STANTON — Of course, but nothing you like as well or can 
make as much money at. You're a good rider, Skilly, and if 
you help me I'll put you on easy street. 

SKILLY— How ? 

STANTON — Randall wont put the horse on the track and 
has even refused to sell him. But if he were made to believe 
the horse was worthless, he might be persuaded to part with 
him. 

SKILLY — I don't just get you. 

STANTON— He's letting you take care of him. Cut down 
on his feed, no exercise, let him grow stale, knock him at every 
opportunity. Use every effort you can to get him to sell the 
animal. Then when the time is right drop me word, and I'll 
have Johnson — remember Johnson, Skilly? 

SKILLY — (Aside.) Another dirty crook. 

STANTON — Johnson looks like a farmer — used to run a 
three-shell game — come along and buy him for a family driving 
horse. If he thinks he isn't going on the track Randall will sell 
him. 

SKILLY— What do I get out of it? 

STANTON — I'll get you back on the track and you can ride 
him. What do you say? 

SKILLY— I didn't say— but I will. 



»..»l.«..»..»..»«»..««.«..»~«~»~>.^~»~«tl»~«W«W»W»«.»..»M»..»» 

—26— 



STANTON— Well ? 

SKILLY — I'll see you in hell first, Morse Stanton, 
STANTON— Don't try any of that stuff on me, Kelley, or 
I'll put you behind the bars. 

SKILLY — And I know enough to take you with me. 
STANTON — Damn you. You'll do as I say or I'll shut your 
mouth for you. (Draws revolver.) 

Lucy enters from house, has Stanton covered with rifle. 
LUCY— Drop it, Morris. 

Bob enters from house. Sue enters L U E, carrying 
lemons. 
BOB — Lucy, what are you doing? 

LUCY — Just breaking my engagement with Morris Stanton. 
Sue starts tossing lemons at Stanton, who stands C, 
angi-y. 

CURTAIN. 



ACT III— THE POWER HOUSE. 



Scene — Interior. Stone or plain box set. Door in C in flat. 
Practical window L. Work bench R with tools, and especially a 
long necked bottle in which is a little oil. R of door on back 
drop is a water guage; a row of figures from I at top to 40 at 
bottom, with a block indicator which may be worked by string 
from behind scenes. L C a square heavy box with wheel brake 
on top, (practical) and practical brake on side. Small gasoline 
engine may also be used to fill set. Set wood backing at ex- 
treme limit of stage for door and window. Chair. Lights down, 
lighted lantern on work bench. Thunder, lightning and rain ef- 
fect outside. A tin trough punched with fine holes and filled 
with water may be hung over door and window to give rain ef- 
fect. All characters entering wear rain coats, wet before en- 
tering. 

Discovered — Mose seated. Indicator on water guage is con- 
tinually moving as though water was rising; at "30." 



MOSE — Lawdy, lawdy, will you done listen to it rain. Dis 
nigger aint neber seen it rain so hard since he done lib on de ole 
Mississipp. Done been raining for two days now and the water 
am sure getting hig''h back of that dam. (Looks at guage.) 



-27— 



Thirty feet, and dat indicator am bouncin 'round like a popcorn 
on a hot griddle. (Thunder.) For de Lawds sake I dont like to 
hear dat thunder. Dey say when it does dat it am de black man 
in de bad place buttin' his haad again de rocks trying to get out. 
I shore wishes he would. (Up to window, opens it and looks out. 
Lightning.). Golly, but dere am lots of water out dere. Dis 
nigger am done getting scared. (Closes window, comes down.) 
Mr. Bob say for me to stay here, and see that everything am all 
right, but I done wishes he would gibe somebody else dis job. 
(Looks at indicator.) She am going up. If de water gets to 
runnin' over the dam it's done gwine to take this shanty, too. 
I hope I aint in it then. 

Skilly enters, C D. 

SKILLY — Hello, Mose, what are you doing? 

MOSE — Ise done holding down dis damn dam. 

SKILLY — Well, it's something to do. Gee, I aint had any- 
thing to do since this rain started. Me and Cataract will get 
stale as eggs if it dont stop soon. 

MOSE — Dat horse shore do miss his exercise. But he had 
some dis morning. 

SKILLY— How's that? 

MOSE — He done kicked me out of his stall just for fun. 

SKILLY — We sure had him doing a fast mile down that 
valley road. We've got to get a watch and time him. 

MOSE — Ise done got a watch. 

SKILLY— Does it run? 

MOSE — Sure. (Produces large, cheap watch, shakes it, 
rattles.) Maybe some of the wheels loose, but she sure runs. 

SKILLY — Aw, we got to get a good watch, one that tells 
seconds to time that horse. 

MOSE — Maybe Miss Lucy's got one. 

SKILLY— Would she let us have it? 

MOSE — ^Don't know; we might have to tell her what we 
wanted it for. 

SKILLY — Aw, that wouldn't do, she's tell Bob. 

MOSE — What's the use of training dat horse; Marse Bob 
aint going to let us race him. 

SKILLY — Well, it's a good thing for the horse and the time 
may come when he will g'et a chance to run. 

MOSE — Boy, if we could get him in the county fair, wouldnt 
we clean up? 

SKILLY — County fair — he's good enough to go on the cir- 
cuit and meet any of them. 



-28— 



MOSE — Sh, here comes Marse Bob, now. 

Bob enters, C D, carries lighted lantern. Note — storm 
effect lighter. 

BOB — Hello, Mose, everything all right? 

MOSE — Yes, sah, but dere's a heap of water back of dat 
dam, sah. 

BOB — (Looks at indicator.) I've just been over the dam — 
the gates are holding fine — there is no danger. Besides this 
storm can't last much longer, and we've got several feet to go 
yet. 

MOSE — Done seems to me tho,' the way that thing am bob- 
bin' it goes up about a foot a minute. 

BOB — Laughing.) Oh, not as bad as that. If it keeps on 
though, I'll open the emergency, that will help some. 

MOSE — Yes, sah; but I done wish you had brought me one 
of dem life belts like they done use on de steamboats. 

BOB — Mose, I believe you are actually afraid of a little 
water. 

MOSE — No, sah, not just afraid, but you see I was brought 
up a Methodist. 

BOB — You'll feel better when you've had supper. 

SKILLY — That's just what I came down to tell you Mose — 
Sue said to beat it right up to the house if you wanted any sup- 
per. 

MOSE — Boy, Ise on my way. 

BOB — Come back after you've had supper, Mose, we may 
need you. 

MOSE— All right, Marse Bob. (Exit C D.) 

SKILLY— Some rain! 

BOB — Yes, this is the hardest rain I've ever seen here. 

SKILLY— Dam hold all right? 

BOB — Oh, yes. If the water gets too high we can use the 
emergency. 

SKILLY— Well, I hope she don't bust. Gee, it wouldn't do 
a thing to this shanty. 

BOB — It certainly would sweep this place away. 

SKILLY — And further down the valley — wouldn't it sweep 
things ? 

BOB — Skilly, you're a regular crepe hanger. The dam isn't 
going to break. 

SKILLY — Well, I hope not — I'm a dry land sailor. 

BOB — Never been around the water? 



-29- 



SKILLY — No; don't know anything except riding- horses. 

BOB — Skilly, have you been racing Cataract without my 
knowing it? 

SKILLY — Racing him ? Gee, you don't have to race that 
horse, he just naturally runs. 

BOB— I know he does, but I was wondering why every time 
he passed that big tree at the turn of the valley road he' tries 
to make a record for the next two miles. 

SKILLY— Does he? 

BOB — I think you know it, already. I don't mind you ex- 
ercising him. Skilly, but I wont have him racing. 

SKILLY — Gee, Mr. Bob, it's a sin not to let that horse race. 

BOB — I would think from your experience you'd had enough 
of racing. 

SKILLY — Aw, I guess I'm just like that horse — we come by 
it naturally. 

BOB — Well, try and get over it. Skilly; there's lots better 
things to do than horse racing. 

SKILLY — I suppose so, but I don't believe they's as inter- 
esting. 

BOB — I'm going to need a good man to help me here on the 
place. I've been watching you, Skilly, and you suit me pretty 
well. Now if you can get this horse racing out of your head, 
I'm willing to give you a chance and eventually take you in as 
a partner. 

SKILLY— Do you mean it, Mr. Bob? 

BOB— Of course. 

SKILLY— I'll do it, Mr. Bob. I'll give up horse racing. I'll 
settle down and work hard and raise some horses of my own and 
get a good horse that can run and put him on the circuit — 

BOB — Hold on, hold on. I thought you had quit racing? 

SKILLY — It seems I just can't help it any more than Cat- 
aract can, but I'll try — hard. 

BOB — That's the idea. And tomorrow we'll make more 
definite plans as to our partnership. 

SKILLY— Thank you, Mr. Bob. 

Enter Morris Stanton C D. Note — Increase storm effect. 

BOB- — Oh, good evening, Mr. Stanton. 

STANTON — I've just been over my place, and your dam is 
backing up the water and washing out my ditches. I'll be flood- 
ed out in another hour. 

BOB — As bad as that? I'll open the emergency, that will 
let it down. 



-30- 



STANTON — It wont be enough; unless you open the gate 
I'll be ruined. 

BOB— No, I can't do that. 

STANTON — Why not — you don't need all that water you've 
got stored up. 

BOB- — I know it, but if I open the gate now the valley below 
will be flooded. 

STANTON— That isn't any affair of mine. The gates will 
have to be opened. 

BOB — To open those gates now would send death and de- 
struction down on hundreds of helpless people in the dead of 
night. 

STANTON — I don't believe it — it's a trick to ruin me — 

BOB — Ruin you ? What object would I have in ruining you ? 

STANTON — Oh, I understand your object well enough since 
Lucy Holden broke her engagement. 

BOB — It is not necessary to bring that lady's name into 
the discussion. 

STANTON— Don't want to discuss it, eh? Think you can 
meddle in my affairs all you please and get away with it, do you ? 

BOB — That is not my intention. I only want you to under- 
stand now, that to open those gates would flood the valley. 

STANTON — Well, that's your affair, not mine. 

BOB^ — Do you mean that you'd drown those people like rats 
in a trap ? 

STANTON — Bah, they wont drown, the river will hold the 
water — 

BOB— I'll not risk it. 

STANTON— Well, I will. 

BOB — Stop. Lay a hand on that machinery and I'll throw 
you into the river. 

STANTON — (Covering Bob with revolver) Now I'm run- 
ning this place and we'll do as I say. And since you're so 
damned afraid of what that water will do, we'll open the emer- 
gency and then the gate, but that water's going down. 

Skilly, during Stanton's speech, looks around hopeless- 
ly; has idea as he looks at bottle on bench; quietly picks 
it up without moving from where he is standing; sticks 
mouth of bottle against Stanton's back. 

SKILLY — No it aint Morse. Put 'em up Morse — easy now, 
before I blow out your brains. (Secures Stanton's revoiver.) 
Much obliged, Morse. (Covers him.) Gee, I'm glad I got that. 
Nothing but lubricating oil in that bottle, Bob. 



-31- 



Bob and Skilly laug-h. Morris angry. 

BOB— Get out of here. 

STANTON— Goes to door.) I'll get you yet. 

SKILLY — On your way. (Stanton exits C D.) 

BOB — Thank you Skilly. You certainly showed great pres- 
ence of mind. 

SKILLY — Just a little partnership work. 

BOB — I wasn't afraid for myself, but I believe he would 
have been fool enough to open the gates. 

SKILLY — It sure would have cleaned the valley. 

BOB— We'll open the emergency, that will let the water 
down considerably. 

SKILLY — Here, keep this for a souvenir. (Gives revolver 
to Bob.) Need the engine? 

BOB — No, only when you open or close the gates. 

Bob slowly turns brake. Indicator stops, then begins 
to g'o down slowly. 

BOB — Works fine. No danger of a flood, either up or down. 
Lucy enters, C D. 

BOB — Why Lucy, what are you doing here ? Nothing is 
wrong at your place is there? 

LUCY- — Oh, no. I was just interested in knowing if every- 
thing was all rig'ht here. 

BOB — Things working fine. We've just opened the emer- 
gency. 

LUCY— Too much water? 

BOB — Yes, getting pretty high, but no danger now. 

SKILLY — Say, Bob, g-uess I'd better be going up to the 
house; Sue's there alone. 

BOB — All right, Skilly, and if Mose is through eating, send 
him down here. 

SKILLY— All right. (Exits C D.) 

LUCY — This will certainly test your new project. 

BOB — Yes, and it is proving' a success. And it means 
plenty of water for the dry season to come. 

LUCY — I'm glad you have made such a success. 

BOB — Thank you, Lucy. Don't you think I deserve a little 
reward now? 

LUCY — Why — I suppose so — wont your returns from the 
sale of water rights be a reward? 

BOB — Why I suppose so — but I kinda hoped we could take 
time now for that little ride. 



-32- 



LUCY — (Laughing.) Surely not tonight? 
BOB — No, but when this rain is over it will be fine riding. 
LUCY— All right, I'll go. 

SKILLY (Outside.) Mr. Bob— Mr. Bob— (Enters C D.) 
BOB— Well, what's the matter? 

SKILLY — I just now saw Stanton across the dam on the 
bank. 

BOB — Well, nothing wrong with that is there? 
SKILLY — He was carrying a box and was acting awful sus- 
picious. 

BOB— I'll go see. 

SKILLY — Perhaps you can see him from the window there. 
Bob opens window, looks out. Skilly and Lucy look 
over his shoulder. Lightning flashes outside. 
SKILLY— (Pointing.) There, see him! 
BOB — Yes — what's he doing? There, he's throwing some- 
thing. 

Outside window small powder flash followed by ex- 
plosion (Use bass drum for explosion.) 
BOB — Dynamite! He's blowing up the dam. (Starts out.) 
SKILLY— You can't get him Bob — 
BOB — ^I've got to stop him — 

SKILLY — In your side pocket — your side pocket — 
BOB — My side pocket — (produces revolver.) 

Bob at window with revolver. Second explosion. Bob 
fires. 
SKILLY— Did you get him? 
BOB— No, I don't think so. 

Lightning flash. Bob fires again. Third explosion. 
Wood crash, off L. Indicator stops. 
SKILLY — He's blown up the dam. (Rushes out C.) 
BOB — You'd better get across to the bank. If the dam goes 
out this place will go. (Gets lantern.) Skilly will take you 
across. 

LUCY — Aren't you going? 

BOB — No, I'm going to try and open the gates slowly, that 
will relieve some of the pressure and perhaps prevent a sudden 
flood down the valley. 

LUCY — But your life is in danger. 

BOB — Not more so than those poor people down the valley. 
Skilly enters hurriedly C. 



—33— 
••••••••••••■•••••••••••••••••••••••••••••••••••••••••••••••■•••••••••••••••••••••••••••••••••••••■•••••••••••••••••••••••»••••»•. 

SKILLY — You can't get across — the bridge is down. 

BOB — Can you cross on the gate? 

SKILLY — No — water g'oing over it too fast. 

LUCY— Does that mean we can't get out of here ? 

BOB— Yes. 

LUCY — And there is danger? 

BOB — Yes — if that gate breaks this place will be swept 
away. 

SKILLY— It will flood the valley. 

BOB — If there was only some way of warning them. 

SKILLY — Somebody would have to move fast. I know — 
Cataract! 

BOB— Cataract ? 

SKILLY — He could warn them. 

BOB — How could he warn them? 

SKILLY — I'll ride him. I've lied to you Mr. Bob — I've been 
racing him and he's ready now to prove himself. I'll ride him 
and warn them — 

BOB — You can't get across — 

SKILLY— Well I can try. (Rushes out C.) 

Bob and Lucy watch from window. Lightning flashes. 

BOB — See, there he is — at the gate — you can't get across 
there — now what's he doing- — going down the side of the dam — 
I know — he's going under the fall — the gate won't hold him — 
there he goes under — 

Lucy hides her face in her hands. Bob watches from 
window. A pause. 

BOB — Lucy, he's made it. (Waving his hand.) Good bye. 
Skilly, and good luck. (To Lucy.) We could try the way Skilly 
got across. 

They turn to door. Indicator suddenly jumps up and 
down, and indicates lowering of water. 

BOB — Too late — the gate's giving way — it won't hold us. 

He puts his arm around Lucy. They watch indicator, 
waiting for the end. Door C is opened, Mose standing 
in row boat, across doorway. 



-34- 



MOSE — You all better hurry up, or you'll be late for supper. 
CURTAIN. 

Second curtain. Bob, Lucy and Mose in boat. Mose singing', 
"Sailing', sailing," etc. 

CURTAIN. 

NOTE- — If not possible to use boat effect, close thus: 
MOSE — (Looking in at window) Heah, you folks Ise done 

got a boat out here, and if you all don't hurry up — you'll be late 

for supper. 

CURTAIN. 



ACT IV.— INTERIOR OF HORSE BARN AT STATE FAIR. 



Scene — Plain interior. Entrance R and L in 1, Window C, 
back. Bench R. Several bridles and blankets hanging on wall. 
Saddles on floor. Lights up. 

Curtain — Mose heard off stage R. 



MOSE — Dar, Mr. Cataract, you am all done cleaned and 
polished and ready to win another race. (Horse heard.) Whoa, 
dar, — whoa — (Mose jumps through door R falls on stage.) 
Golly but dat boss does think it lots of fun to kick dis nigger 
out of his stall. Huh, didn't hurt me none— I gotta pad. (Pro- 
duces large roll of bills from each hip pocket.) Dat's what 
keeps you from getting hurt lots of times. Golly, aint been 
nothing' to it but win eber since dat horse started to race. Easy 
money; guess I wont show dem niggers something when I gO' 
back to ole Kentucky. 

Skilly enters R. 

SKILLY— What you doing Mose? 

MOSE — Counting my money. 

SKILLY- — Aw, what's the use ? wait until the season's over 
then count it all at once. 

MOSE — Dat's a good idea. Ise gwine to win some more 
today. 

SKILLY — Listen, Mose, there's a new horse entered against 
Cataract today — they say he's a wonder. 

MOSE — Can't beat dat Cataract horse. 

SKILLY — No, but if you watch you might get better odds. 



-35- 



MOSE — Say, dats right. If you all done stay here, I'll go 
over and put up some money. 

SKILLY^ — Here, put up some for me Mose. (Gives Mose 
money.) 

MOSE — Keep close watch on dat horse. Skilly, and don't let 
nobody in. 

SKILLY— I wont. 
Sue enters, L. 

MOSE — Say lady, you all can't come in heah — (Recognizes 
her). For de Lawd's sake, Missie Sue, I didn't recognize you in 
dem doll clothes. 

SUE — (Affected manner.) Oh, dear me, Mose, this simple 
toylette ? You should see me when I'm really bong swor. 

MOSE — (Overcome, burlesque manner). For de Lawd's 
sake — bong swor. (Staggers.) 

SKILLY- — What have you been doing, Sue? 

SUE — Oh, I've been having a most felicitous time. 

MOSE — (Same)'— For de Lawd's sake, fealiticious ? 

SKILLY — Well, come down to earth and tell us. 

SUE — Well, I'm going to get my name in the papers. 

MOSE— What did you all steal? 

SUE — Didn't steal nothing. I was sitting over there in the 
am-pi-the-a-ter — 

MOSE— (Admiringly.) Lawdy! 

SUE — When this guy comes up and introduces himself and 
gives me his card. See, here it is. (Shows Skilly card.) He 
writes for the papers and he asked me all about Cataract, and 
where we come from and I told him how you rode ahead of the 
flood and warned the farmers and saved their lives when Stan- 
ton blew up the dam, and how Mose risked his life in that boat 
and saved Mr. Bob and Miss Lucy, and how Mr. Bob went broke 
when the dam was washed out, and how you persuaded him to 
put Cataract on the track, and how he was getting enough money 
to build another dam, and — (pauses for breath.) 

MOSE — (Admiringly.) Lawdy! 

SKILLY — Say, Sue, is this guy going to get out extra 
pages ? 

SUE — Well, I don't know, but I do know he's coming over 
after a while to take our pictures to put m the paper. 

MOSE — For de Lawd's sake — dis nigger done g"wine to get 
his picture in de paper — and no reward offered. 



-36- 



SKILLY — Maybe Mr. Bob wont want you to do all this. 

SUE — Aw, shucks, if we hadn't advertised this family, 
where'd we be today? 

SKILLY— That's right. 

MOSE — If I'm done gwine to hab my picture in de paper 
Ise g-wine to doll up. 

SKILLY — Say, Mose, don't forget those bets. 

MOSE — I wont — gwine to do it now. (Exits L.) 

SKILLY— Gee, Sue, aint it great ? 

SUE — Sure is. And I'm awful glad for Mr. Bob's sake. He's 
made almost enough money to build another dam. 

SKILLY— That's good. Say, Sue— 
• SUE— What, Skilly? 

SKILLY — I've made a lot of money, too. 

SUE— Have you? 

SKILLY — Yep. Still thinking of going to school to learn 
to be a missionary to educate the heathen? 

SUE — Yes, some. 

SKILLY — Well — if Bob aint got the money to send you to 
school, I have — provided you'll be satisfied to teach one heathen 
when you come back. 

SUE— (Shyly)— Say, Skilly— 

SKILLY— What? 

SUE — If I'm only going to educate one heathen — I don't 
believe I'll need that education. 

SKILLY— Sue— do you mean it? 

SUE— Yep. 

They embrace. Bob and Lucy enter L. Bob carries 
field glasses in case over shoulder. 

BOB — Here, what does this mean? 
Skilly and Sue confused. 

SKILLY — We're — we're just playing a game. 

BOB— A game? 

SKILLY — Yes, sir, Mr. Bob, it's called 'educating the 
heathen.' 

BOB — Well, I don't know which is the heathen, but whoever 
is is certainly an apt scholar. 
'SKILLY— I'm the heathen. 

SUE — And I've promised to educate him. 

BOB — Well, then, I suppose congratulations are in order? 
All shake hands. 



—37- 



BOB — And also some good news, too, Skilly; If we win this 
next race, we can quit and go back to the ranch. 

SKILLY — Gee, that's good — and I'm sorry, too — I've been 
having a felicitous time. 

BOB— Oh, have you? 

SKILLY — Oh, yes. But I suppose we are bong swor here, 
so if you will watch Cataract Sue and I will go and bet some 
more, 

BOB — All right, Skilly, but don't be too sure. There's a 
strange horse entered against us today they say is a wonder. 

SKILLY — I've heard of him, but I don't care. I'll bring 
Cataract home a winner by a damn sight. 

BOB — Well, Skilly, it means a dam site if you do. 

SKILLY — Come on Sue, let's go bet. 
Sue and" Skilly exit L. 

LUCY — They are certainly a happy pair. 

BOB — Yes, they're good kids and I'm glad. 

LUCY — Is there danger in this strange horse winning? 

BOB — Well, such things have happened but I still have faith 
that Cataract and Skilly will be able to retii-e unbeaten. 

LUCY — I hope so, and I'm glad this is the last race. Ever 
since this trip was started I have had a fear of something hap- 
pening. 

BOB — Why, what could happen? 

LUCY — There is one that perhaps would give a great deal 
to stop Cataract's racing-. 

BOB— You mean— Stanton ? 

LUCY— Yes. 

BOB — I don't think we need fear him. Since that night he 
blew up the dam he has not been near us. 

LUCY— You don't think you shot him? 

BOB — Oh, no, he has been seen since then. 
LUCY— I'm glad you didn't, Bob. 

BOB — So am I, Lucy. But there, let's talk of something 
else. This is my last day of racing. It was good of you to come 
down here to see the finish. 

LUCY — Oh, I've been reading in the papers about Cataract, 
he's made a wonderful sensation. 

BOB — He sure has, and now I'm going to take him back to 
the Frenchman and give him his reward. 

LUCY — He may not appreciate a life of inactivity. 



—38- 



BOB — Oh, he will be busy enough, I hope. You going back 
to the ranch? 

LUCY— Yes, I expect to. 

BOB— That's good. Going to be busy? 

LUCY — Why — not so very. 

BOB — Then maybe we can take that ride. 

LUCY— I think so. 

BOB — Sometimes in the early morning, just as the sun is 
peeping up over the eastern hills we'll ride to meet him — some- 
times in the evenings when the moon touches the Frenchman 
with silver we'll ride — you and I— shall we? 

LUCY— Yes, Bob. 

BOB — Well, Lucy, if Cataract wins this race so I can build 
that dam I'll ask you. 

LUCY — The money doesn't make any difference to me, Bob, 
BOB— Doesn't it, Lucy? 

LUCY— No— Let's build the dam together, Bob. 
BOB — Lucy, do you mean it? 

They are about to embrace when Mose rushes in, L. 
MOSE— Oh, Mr. Bob, Mr. Bob— (realizes what he has done) 
Oh, for de Lawd's sake. 

BOB— What is it, Mose? 

MOSE — De man over at de jedge's stand done want to see 

you. 

BOB — All right, Mose. (Lucy exits L. Bob at door.) 
BOB — Mose, when we get home I'm going to throw you in 

the river. (Exits L.) 

MOSE — Lawdy, lawdy, de love bug am sure working over- 
time around here. Well, I'm glad of it, they'll make a fine 
couple. 

Morris Stanton enters L, disguised. Carries camera. 
MOSE — Here, hold on man, you all cant come in here. 
STANTON — I have come to take the pictures we were 
talking to the young lady about. 

MOSE— Golly, deys all ober to the track, but they'll be back 
in a minute. 

STANTON — Can't you go tell them; it is very important 
we take the pictures while the light is good. 

MOSE — Yes, sah, I knows right where dey are — I'll go get 
them. (Exits L.) 



—39- 



STANTON — That was easier than I expected. It was for- 
tunate I happened to overhear that reporter talking to Sue. 
(Takes hyperdermic needle from pocket.) Now to give Cataract 
a little medicine, and my horse, 'the strange unknown,' will race 
home a winner, and Bob Randall will again be ruined. Damn 
him, he ruined me, and here is where I get even. 

Stanton looks about cautiously, then exits R. Horse 
is heard moving off R; Stanton says, sharply, "Whoa " 
Sound of horse stamping, then Stanton staggers through 
door R, falls C, senseless. Bob heard off L. 
BOB — (Off L.) I don't care if he does want to take a pic- 
ture, you shouldn't have left Cataract alone. 

Bob, Mose, Lucy, Skilly and Sue enter L. 
BOB — Hello, what's this? (Lifts Stanton, discovers his 
disguise, removes it.) 
ALL — Stanton! 

SKILLY — He was trying to dope Cataract! (Rushes out R.) 
BOB — (Discovers needle in Stanton's hand, examines it.) 
Well, he didn't — this hasn't been used. 

MOSE^ — Golly, guess Cataract though dat was me, and 
took a little exercise. 

LUCY— Is .he— dead? 

BOB — No, just stunned. (Skilly enters U.) 
SKILLY — Cataract's all right. (Bugle heard in distance.) 
SKILLY— That's our race. 

BOB— Hurry up. Skilly — this is the last one, win it. 
SKILLY— I will, Mr. Bob. 

Skilly and Mose exit, R. Horse heard R, then leaving. 
LUCY — Is there anything we can do for him ? 
BOB — No. He's coming too, now. (Assists Stanton to 
bench.) 

STANTON— (Recovering.) What happened to me? 
BOB — Horse kicked you. (Stanton recognizes others.) 
BOB — Enough evidence here to send you to the pen, Stan- 
ton. 

STANTON — Well, I don't care. I'd just as soon be there as 
broke. Your dam ruined my crops, but if I could have cleaned 
up on this horse of mine, I would soon be in the clear. 
BOB — Is your horse the new unknown? 
STANTON— Yes. 

Sue gets field glasses from Bob, goes back to window, 
watches off throug'h glasses. Lucy joins her. 



••••••••••••••••••••>•••••••••••"••••••••••"•••»"•••••■••••••••••••••••••••••"••••••••••"••••••••••••••••••••■•.••"••••■■•.••• 

— 40— 



BOB— Did you bet heavily? 

STANTON— Yes, all I have left. 

SUE — They're lining up for the start. 

BOB — Give me your tickets. ^ (Stanton gives Bob several 
tickets.) 

BOB — If my horse wins, I'll return this amount to you. I 
don't care to win under such circumstances. 
Cheering heard in distance. 
SUE— They're off. 

BOB — I expect this to be our last race. If you have a good 
horse, that will leave a clear field for you, and when you 
make a stake, quit, as I am doing. It's the only way you can 
beat this game. 

SUE — I can see them — they're running- neck and neck. 

STANTON — I guess that's right. It's cost me everything. 

BOB — One thing more before you go. Did Skilly rob that 
safe when you run him off the track? 

STANTON— Skilly— No— Skilly is innocent. 

SUE — Huh, I knew that all the time. (Uses g-lasses.) 

BOB — That's all, you can go now. 

SUE — (Looking.) They're still running- neck and neck. 
Come on, Skilly, come on, Cataract. 

BOB — I'll meet you at the judge's stand after the race. 
Stanton exits L. 

BOB — How's the race. Sue ? What do you see ? 

SUE — They're still neck and neck. Now they're back of the 
building. (Runs to door, looks, back to window, excited.) Come 
on Skilly if you love me. 

Cheering heard in distance. 
BOB — Well, somebody's won. 

Mose heard in distance. 
MOSE— (Off L)— Mr. Bob— Mr. Bob— 
BOB — Here comes Mose. • 
MOSE— (Nearer.) Mr. Bob— Mr. Bob— 
BOB— Well, what is it? 

Mose enters L, running. 
MOSE— Mr. Bob, the race am ober— 
BOB— I know it. 

MOSE— Dat Cataract and dat strange horse done got away 
together and started around the track, and dey were neck and 
neck at de half — 



-41— 



SUE— Which won, Mose? 

MOSE — Aint eber won, yet. Deys only at the half. And 
dey were neck and neck at the three-quarters — 

SUE— Well, I know that— but which won ? 

MOSE — Aint eber won yet. Deys only at the three-quarters. 
Den dat Skilly boy done push on Cataract's neck jest a little 
and say — 

SKILLY — (At door L.) Run like a dam site, Cataract. 

MOSE — He shore did and come in two lengths ahead of the 
other horse. 

SKILLY — That other horse is a dandy though, and with 
Cataract off the track, he's a sure winner. 

BOB — I'm glad of it, and I'm also glad we are through 
with racing. Now we can all go back home and be happy. (To 
Lucy.) I g-uess we can have that ride now. (To audience.) 
And if any of you folks happen out our way we'll be glad to see 
you, "WHERE THE FRENCHMAN FLOWS." 

Positions for Curtain — Mose, R; Bob and Lucy, C; Sue and 
Skilly, L. 

CURTAIN. 




TRIBUNE PRINT 

MCCOOK 

N EBH. 



LIBRARY OF CONGRESS 



(One of the "Desert 

"ONE DAY AT 



BY GEORGE K 



016 103 519 1 
A ONE ACT COMEDY DKaivia. 



A dramatic incident that happened in the life of "Nellie," 
a vaudeville singer with a weak lung "One Day at Cactus." A 
Western play that is different: Nellie, who has come to Cac- 
tus for her health is ready to leave when Carroll drifts in, and 
because of a love he never knew, Nellie starts him again on the 
right road. A tense, interesting play, a fight that will thrill 
any audience, and a climax that discovers "the smile behind the 
tear," Unusually good part for a woman. Five men. Easy 
stage setting. 

$1.00 THE COPY. 



(One of the "Desert Gold" Series.) 

"WHEN THE LIZARD SINGS." 

BY GEORGE KEARNS. 
A DESERT TRAGEDY IN ONE ACT. 

A tumble down hut somewhere in the trackless desert, 
two men and a woman, lost, with only a little water and one 
poor horse between them, struggle for life. The warning, fore- 
telling song of the lizard causes one of the men to betray his 
companions, but he pays the "desert's price" in a thrilling,, 
gripping climax. Recommended for companies desiring a 
high-class short play. 

75 CENTS THE COPY. 



"THE GAP." 

BY JOHN KEARNS. 

A new and original tragedy for three men and one g-irl, 
in one act, with a final curtain that will thrill the most sophis- 
ticated and theatre-wise audience. A Southern lover conceals 
his sweetheart in the gloomy vault of an old mill, and goes off 
to war, his mind a blank from a chance blow in a fight with 
his brother. Twenty years later he returns to set her at lib- 
erty, thinking he has only been gone a few minutes. Manu- 
script only. Fee, ?5.00. 

SEND FOR CATALOGUE. 

KEARNS PUBLISHING CO. 
McCook, Nebraska. Jacksonville, Ills. 



